the cars tour 1978

Album Reviews 1978 Albums , 2013 Reviews , Album Reviews by Ric Albano , American Artists , New England Artists , Ric Ocasek , The Cars 6

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Ocasek and bassist Benjamin Orr began performing as a duo in Columbus, Ohio before migrating to Boston in the early 1970s. There they joined with keyboardist Greg Hawkes , formed the folk band Milkwood, and released a 1973 album which failed to chart. After a few more Ocasek/Orr incarnations, including a jazz band, the group decided to go in a rock-oriented direction. Guitarist Elliot Easton and drummer David Robinson rounded out the quintet with Robinson coming up with the band’s simple name.

After a demo of the song “Just What I Needed” began getting heavy airplay on a Boston radio station, Elektra Records sent Baker across the ocean to scout the band. After seeing The Cars perform in a Boston school gymnasium, Baker instantly signed the group to a four album deal, all of which he would personally produce.

The albums first three tracks each reached the Top 40 on the pop charts. “Good Times Roll” commences the album aptly with a slow-rocking guitar riff to draw in traditional rock fans while a full-fledged new wave band arrangement and production is attractive to fans on late 70s pop. Like many of the popular songs on the album, “Good Times Roll” is masterfully segmented with repeated choruses each containing different sonic elements – a guitar riff, a synth lead, chorus vocals, and creative counter-melodies. The song methodically sequences through musical passages on the journey to the song’s end. Ocasek’s lyrics and title are meant more as irony than a true pronouncement of celebration.

“My Best Friend’s Girl” follows with much of the same formula as “Good Times Roll”, building from a simple guitar riff to a full band arrangement. However, this song has more roots rock and blues elements than the opener, especially the cleanly picked guitar overdub and lead by Easton and the bouncy electric piano by Hawkes. While this recording pushes the song into new wave territory, it remains firmly a pop song with simple elements like handclaps and call-and-response vocal interplay. “Just What I Needed” may be the most purely new wave song on the album with spazzy guitars and square-wave synth lead. The only song on the first side which Orr sings instead of Ocasek, the song was the group’s first big hit regionally and internationally.

Aside from the cool but repetitive guitar riffing, “I’m in Touch with Your World” is really just a sound-effect-laden collage which tends to sound undercooked and a bit confused. Although not a terrible listen, the song is almost like an experimental piece which samples many synth-driven sound effects and uses other concise methods such as a saxophone solo that lasts all of five seconds. “Don’t Cha Stop” starts with a good guitar led verse which unfortunately gives way to the stale caricature of a chorus. Aside from drummer Robinson getting a chance to really wail on the drums, this side one closer one of the few tracks on the album which doesn’t hold up sonically three and a half decades later.

The flange-driven drum march of “You’re All I’ve Got Tonight”, which later contains a few really good guitar jams. Beyond that, the song tends to lose steam as it gets repetitive during the body. Perhaps, the formula from side one goes a bit too far on this side two opener and by this point on the album Ocasek’s dry vocals seem to wear a little thin on the ears of the passive listener. Perhaps Baker had this in mind when sequencing the final three tracks which each feature Orr on lead vocals.

These final three also segue into each other, in an exhilarating mini-suite which may constitute the finest part of The Cars . “Bye Bye Love” is simply the best song on the album. A composition which dates back to the mid seventies, this tune has a driving rock energy and Orr not only handles lead vocals but also plays his best bass on the album. Aside from Orr, the song is a real showcase for Hawkes, who artfully uses the repetitive riffs between the verse lines with layered and building keyboard font which change with each iteration. A less in-your-face and more unassuming track than some of the more popular songs, “Bye Bye Love” starts and concludes with great energy with Easton’s brilliant guitar a head-banging, rudimentary rock riff.

Hawkes co-wrote “Moving in Stereo”, making it the only song on the album not composed solely by Ocasek. A darker, theatrical, and more intense sonic experience which nearly lasts five minutes (a very long song for this album), the song carries a theme for audiophiles and stereo enthusiasts. Orr has a much smoother singer style which works well for this moody song and his bass is treated with an effects unit that doubles the bass line one octave higher. The closer “All Mixed Up” is the closest thing to a ballad on this album, with Orr singing in an almost folk-like method and with a higher range than anywhere else. While the song maintains some of the album’s new wave elements, it contains many other features such as some good faux synth orchestral horns, an actual saxophone, and a short, country-influenced guitar lead.

The Cars sold one million copies by the end of 1978 and remained on the charts for nearly three years. Although it only peaked at number 18, Billboard ranked it number 4 on their “Top Albums of the Year” countdown. Critically, the album has been labeled “a genuine rock masterpiece”. It launched a ten year charting career for the group which included several more hit albums and songs.

Part of Classic Rock Review’s celebration of 1978 albums.

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Although The Cars debut only peaked at number eighteen on the US Billboard 200 in 1978, their music remains popular today. With the passing of lead vocalist and chief songwriter, Ric Ocasek, this time around could see a higher chart position. A very underrated group, their music is timeless, not something many groups can claim today.

Underrated?

The Cars Album The Cars New Wave Music - Simplyalbumz September 20, 2019 @ 6:16 pm

[…] generally well-received by music critics. Reviewing retrospectively on the 9th of September 2013, Classic Rock Review called it ” Quite simply one of the best produced albums of the era “. Writing for […]

I have been a fan since they started a true fan I have their first debut album complete in pristine condition signed by all five members yes all five authenticated by a forensic handwriting expert. If I was to sell I am open for offers to see who truly love the cars

None of us here at Elektra and Getty believe your story. Please stop.

The Cars and the self-titled album ‘The Cars’ – Matt Lynn Digital July 14, 2022 @ 10:03 pm

[…] song being “the group’s first big hit regionally and internationally,” as indicated in this Classic Rock Review. Clear influences from Ohio Express and The Velvet Underground are heard in this […]

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"Because ignorance of your culture is considered uncool"

The Cars In Concert – 1978 – Past Daily Backstage Weekend

• March 10, 2018
• 1970's , New Wave , Past Daily Backstage Weekend , Pop Music , Popular Culture , Radio , Rock n' Roll

Click on the link at the Past Daily website and give a listen to a vintage concert by The Cars, recorded on August 19, 1978.

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From Ric's sons:

Our dad was a prolific doodler. His passing was sudden, unexpected, and beyond heartbreaking. Yesterday, we found his last doodle on his armchair. He couldn't have known what it would end up meaning to us. We love him so much.

SHAKE IT UP: EXPANDED EDITION

SHAKE IT UP: EXPANDED EDITION features the original album – remastered in 2016 – expanded with rare and unreleased bonus tracks. An illustrated booklet accompanies the music and contains liner notes written by renowned rock journalist David Fricke, who details the history of the album with a new interview by band member, David Robinson. Available on CD, 2LP, and digitally on March, 30, pre-order your copy now.

Ric Ocasek, Elliot Easton, Greg Hawkes, Benjamin Orr and David Robinson recorded Shake It Up in 1981 at Syncro Sound, the group’s new studio in Boston, with producer Roy Thomas Baker. Working in their own space afforded them the time to perfect the sound of the album, which became their third-straight Top Ten hit and sold more than two million copies. It features the unforgettable singles “Since You’re Gone,” “Think It Over” and The Cars’ single, “Shake It Up.” Several unreleased tracks make their debut on SHAKE IT UP: EXPANDED EDITION, including an early version of “Since You’re Gone,” the demo for “Shake It Up” and an unreleased song called “Midnight Dancer.”

HEARTBEAT CITY: EXPANEDED EDITION

HEARTBEAT CITY: EXPANDED EDITION features the original album – remastered in 2016 – expanded with rare and unreleased bonus tracks. An illustrated booklet accompanies the music and contains liner notes written by renowned rock journalist David Fricke, who details the history of the album with a new interview by band member, Ric Ocasek. Available on CD, 2LP, and digitally on March, 30, pre-order your copy now.

In 1984, the band returned with Heartbeat City, an album produced by Robert John “Mutt” Lange, who’d worked previously with AC/DC, Foreigner and Def Leppard. The album, which peaked at #3 on the charts, went on to sell four million copies, making it the band’s fifth consecutive platinum album. An amazing success, the album launched five tracks that reached the Top 40, including the Top Ten hits “Drive” and “You Might Think.” Videos for the songs received heavy airplay on MTV, including “Hello Again,” which was directed by Andy Warhol, and “You Might Think,” which won the inaugural MTV Video Music Award for Video of the Year in 1984. Among the seven bonus tracks included on HEARTBEAT CITY: EXPANDED EDITION are unreleased versions of “Why Can’t I Have You” and “I Refuse,” as well as the demo for “Drive.”

CANDY-O: EXPANDED EDITION

CANDY-O: EXPANDED EDITION, available now, goes beyond the original album’s 11 tracks with seven bonus tracks. Among the highlights are unreleased alternate mixes of “Let’s Go” and “Lust For Kicks,” as well as the previously unissued song, “They Won’t See You (The Northern Studios Version).” Digital remastering was supervised by Ric Ocasek and the album’s liner notes were written by David Wild, including a new interview with guitarist Elliot Easton. Presented in gatefold sleeves, the vinyl version includes music on three sides with an etching on the fourth.

The Cars teamed up once again with producer Roy Thomas Baker (Queen) to record CANDY-O. The album was released in the summer of 1979 and became a huge hit, peaking at #3 on the Billboard Album Chart and eventually earned quadruple-platinum certification in the U.S. alone. One of the singles, “Let’s Go,” was the band’s first Top 15 hit on the Billboard singles chart.

PANORAMA: EXPANDED EDITION

PANORAMA:EXPANDED EDITION, available now, builds on the original album’s 10 songs with four bonus tracks. They include the B-side “Don’t Go To Pieces,” as well as unreleased songs like “Shooting For You,” and “Be My Baby.” Digital remastering was supervised by Ric Ocasek and the album’s liner notes were written by David Wild, along with reminiscences from keyboardist Greg Hawkes. Presented in gatefold sleeves, the vinyl version includes music on three sides with an etching on the fourth.

The Cars returned in the summer of 1980 with PANORAMA, which became the band’s third consecutive platinum album and peaked at #3 on the Billboard Album Chart. The album became a fan favorite thanks to songs like “Touch And Go,” “Up And Down,” and “Gimme Some Slack.”

The Elektra Years 1978-1987

THE ELEKTRA YEARS 1978-1987 includes six studio albums, each one presented in a replica sleeve with original artwork. Ric Ocasek oversaw digital remastering for the set, while drummer David Robinson – who helped create The Cars’ iconic album covers through the years – served as art director. The six-disc collection is available now on CD and digitally. On Tuesday June 7, a limited edition vinyl version of the boxed set will be available with each 180-gram LP pressed on a different color vinyl. The extensive set retraces the band’s musical journey in the studio and includes: The Cars (1978), Candy-O (1979), Panorama (1980), Shake It Up (1981), Heartbeat City, (1984) and Door To Door (1987). Among the 60 tracks are the band’s biggest hits – “My Best Friend’s Girl,” “Good Times Roll,” “You Are The Girl,” and “Drive.”

THE CARS (1978) 1. “Good Times Roll” 2. “My Best Friend’s Girl” 3. “Just What I Needed” 4. “I’m In Touch With Your World” 5. “Don’t Cha Stop” 6. “You’re All I’ve Got Tonight” 7. “Bye Bye Love” 8. “Moving In Stereo” 9. “All Mixed Up” CANDY-O (1979) 1. “Let’s Go” 2. “Since I Held You” 3. “It’s All I Can Do” 4. “Double Life” 5. “Shoo Be Doo” 6. “Candy-O” 7. “Night Spots” 8. “You Can’t Hold On Too Long” 9. “Lust For Kicks” 10. “Got A Lot On My Head” 11. “Dangerous Type” PANORAMA (1980) 1. “Panorama” 2. “Touch And Go” 3. “Gimme Some Slack” 4. “Don’t Tell Me No” 5. “Getting Through” 6. “Misfit Kid” 7. “Down Boys” 8. “You Wear Those Eyes” 9. “Running To You” 10. “Up And Down” SHAKE IT UP (1981) 1. “Since You’re Gone” 2. “Shake It Up” 3. “I’m Not The One” 4. “Victim Of Love” 5. “Cruiser” 6. “A Dream Away” 7. “This Could Be Love” 8. “Think It Over” 9. “Maybe Baby” HEARTBEAT CITY (1984) 1. “Hello Again” 2. “Looking For Love” 3. “Magic” 4. “Drive” 5. “Stranger Eyes” 6. “You Might Think” 7. “It’s Not The Night” 8. “Why Can’t I Have You” 9. “I Refuse” 10. “Heartbeat City” DOOR TO DOOR (1987) 1. “Leave Or Stay” 2. “You Are The Girl” 3. “Double Trouble” 4. “Fine Line” 5. “Everything You Say” 6. “Ta Ta Wayo Wayo” 7. “Strap Me In” 8. “Coming Up You” 9. “Wound Up On You” 10. “Go Away” 11. “Door To Door”

Moving in Stereo: The Best Of The Cars

MOVING IN STEREO: THE BEST OF THE CARS will be available on May 6 on CD and as a 2-LP set on 180-gram vinyl. The collection is produced by the band, with all surviving members contributing to song selection. Ocasek also supervised digital remastering of all the audio with Ted Jensen at Sterling Sound. The collection features the band’s big hits along with a rare, single mix for “I’m Not The One,” as well as a live version of “Everything You Say,” and a new mix by producer Philippe Zdar of “Sad Song,” a track from the band’s last album, 2011’s Move Like This.

1. Just What I Needed 2. Since You're Gone 3. Let's Go 4. You Might Think 5. Shake It Up 6. Drive 7. Tonight She Comes 8. My Best Friend's Girl 9. Don't Tell Me No 10. You're All I've Got Tonight 11. I'm Not The One (single mix) 12. Candy-O 13. Heartbeat City 14. Touch And Go 15. Moving In Stereo 16. Dangerous Type 17. Sad Song (Zdar mix)* 18. Everything You Say (live)* *Previously Unissued

Record Store Black Friday Release

For this year's Record Store Day Black Friday, make sure to head out to your local indie retailer and get the limited edition "Just What I Needed" 7" picture disc. Find your closest retailer here: http://www.recordstoreday.com/Stores .

Rock & Roll Hall of Fame Voting

The Cars have been nominated for the 2017 Rock & Roll Hall of Fame! They were so close last year, be sure to vote early and often to help them win. Fans can vote once a day on the link below. Spread the word! https://www.rockhall.com/vote

Listen to a new arrangement of “Drive”, with Ben Orr’s iconic vocal accompanied by a 50-piece symphonic orchestra. The track is part of the upcoming collection 80s SYMPHONIC, featuring David Bowie, Tina Turner, a-ha and others. Pre-order here

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Huge CONGRATULATIONS to Ric, Greg, Elliot, David and Benjamin, The Cars, on officially being inducted into the Rock & Roll Hall of Fame! It's a well-deserved honor. #rockhall2018 Watch the announcement here: https://rh-ino.co/rockhall2018

The Cars: Live at the Agora 1978 available digitally

If you missed the limited LP release of "The Cars: Live at the Agora 1978" for Record Store Day, you can now get it digitally or streaming on the link below! Check out the newly mastered audio of this classic show! Get your copy here.

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The Cars Live1979 Super Groups In Concert

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Our House… Behind the scenes of The 1975’s tour

After their third consecutive year on tour, IQ learns just what it takes to take such a cultural phenomenon on the road

By Derek Robertson on 07 May 2024

image © Jordan Curtis Hughes

As one of the biggest arena acts on the planet, The 1975 have been making headlines wherever they go for the past 20 years. Having just brought the curtain down on their third consecutive year on the road, their fanbase continues to grow, making their efforts to rewrite the rulebooks on sustainable touring all the more impressive. Derek Robertson learns just what it takes to take such a cultural phenomenon on the road.

Can you have too much of a good thing? Clearly, The 1975 think not. For an A-list arena band, they have been remarkably prolific – aside from releasing an album every two years since 2016, they’ve also toured behind them relentlessly: 18 months and 150 shows for I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It; a 24-month world tour behind Music For Cars; and a seven-leg, 96-date stint doing their At Their Very Best show. And barely a month after that wrapped on the 13th of August 2023, they were back on the road in Atlanta starting Still… At Their Very Best – another 66-date, worldwide jaunt – in support of their fifth studio album, Being Funny In A Foreign Language.

Even taking into account the enforced breaks during the pandemic, that’s quite a workload – particularly when you consider some of the bands’ struggles with mental health and the pernicious effects of fame. Yet manager Jamie Oborne says that after the Music For Cars tour was interrupted by lockdowns (while first rescheduled, the remaining shows for that tour were ultimately cancelled), “we collectively had a desire to tour, and Matty (Healy, frontman) was very excited about doing a show that was ‘different’ to what people expected or had seen in an arena before. It felt like the right time to get back on the road.”

Work it real good “The boys love to work,” says Maarten Cobbaut, tour manager. “The first real break they had from their intense schedule was the pandemic, but within a week of restrictions being lifted and everything, they were back in the studio working on new music. They are just so passionate about what they do and put so much of themselves into the music and these shows.”

And these shows for Still… At Their Very Best are, unsurprisingly, fairly close in terms of concept, setup, and logistics as the At Their Very Best show. “An evolution, not a revolution,” as Oborne puts it. “It was part of the same cycle, but so much had happened since the tour commenced that Matty felt a creative need to highlight this evolution. The plan was always to use this tour cycle to market Being Funny In A Foreign Language, so we didn’t really see it as two separate tours.”

“The Finsbury Park show sold out instantly, and it was clear the fanbase was still growing on this cycle”

“Both UK runs were all part of the global touring for Being Funny In A Foreign Language, and weren’t seen as separate projects,” adds Matt Bates of Primary Talent, the band’s agent. “Of course, the first run was billed as At Their Very Best, with the second run having a slightly different name, but they very much coexisted together. And there was a lot of demand – the Finsbury Park show sold out instantly, and it was clear the fanbase was still growing on this cycle.”

Treading the boards The show itself was certainly “different” – both from what you’d expect from an arena band and from their previous bombastic show for Music For Cars. That tour was “really big and ambitious,” says creative director and show designer Tobias Rylander. “We really went for size and technology with massive LED screens and automated cubes. But for At Their Very Best and Still… At Their Very Best, we wanted to be very analogue – Matty wanted the show and design to be more personal and really show them as a band.”

Healy is, says Rylander, always very conceptual in the approach for each era and tour. While the design for the previous tour reflected social media and internet behaviour, “This time around Matty wanted the show and design to be more personal and show them as a band,” explains Rylander.

“Matty wanted it to reflect their history as friends and a group, while also focussing on them as a live act and musicians. He wanted the stage to reflect how they recorded this last album live, together in the studio. He knew he wanted a house, and some sort of living room. And he wanted it to be focusing on the I-mag camera. No video content: just live camera. That’s how I started to design and look at the house. To always have a good background and setting for the camera shots.

“We looked at anything from Ingmar Bergman to Steven Spielberg for inspiration and references,” adds Rylander; Stanley Kubrick and avant-garde theatre were other touchstones (one review described the show as being: “part performance art, part stage play, part Charlie Kaufman movie about a rock star in crisis.”)

“I always remain amazed by the creative ideas of Matty and the band”

Our house The design eventually started to take on a life of its own as it developed – it literally became Matty’s “home,” housing his memories. “It’s monochromatic and anonymous at the same time; it can reflect and take the shape of anyone’s childhood memories or their new memories leaving the show,” says Rylander. “It’s a very inviting and inclusive set.”

The first half of the show has almost no “effect” lighting and looks more like classic theatre than a rock show. “That’s something we’ve never done before, and something that’s not very common these days – I think we are the only rock band tour out there that brings a whole ‘Broadway’ set,” says Rylander.

And for the second leg of the tour, they kept all the theatrical parts and added a large, curved video screen behind the set that allowed them to add set extensions and environmental backgrounds. “We could go from night to day in a very beautiful way, but also play some really fantastic bits of video content reflecting older tours and eras from the past,” he adds. “And using the upstage video screen as a theatrical set extension like we do – I don’t think I have seen that on stage before.”

“I always remain amazed by the creative ideas of Matty and the band,” says Matt Bates. “The show was brilliant theatre while not losing the ethos of what makes the band so special in the first place. It truly showed a band at the top of their game creatively and musically, and, in their own words, ‘at their very best.’”

Boys on film As noted above, video – shot live and intimately – was key to the whole look and feel of the show. Head of video Ed Lawlor has been with The 1975 since 2016 and was tasked with turning concept into reality while ensuring the solution was practical enough for a world tour. “We didn’t want to compromise on providing the best IMAG show possible for the budget – the design brief was ‘cinematic’ – so it was an easy decision to focus on one thing and do it well,” he says.

“It was clear early on that the band and management wanted larger than normal IMAG screens, and we wanted the classic projection look rather than LED”

“It was clear early on that the band and management wanted larger than normal IMAG screens, and we wanted the classic projection look rather than LED. On the initial US tour, we specified two Panasonic PT-RZ31K projectors per side on a 24’ Stumpfl screen from PRG rental stock, which was the largest off-the-shelf option available,” he adds. “On returning a year later to larger venues, the management requested a bigger option – at that point, we commissioned a 32’ Stumpfl screen, which was the largest practical option in a fast-fold product. This required an increase to 3x PT-RZ31K per side, which is the brightest arena IMAG projection I’ve heard of in a while.”

As for the cameras, Lawlor decided to do 3G well rather than 4K on the cheap, so specified four Sony HDC-2500 channels and a Ross Carbonite 2 M/E PPU from PRG UK. This was augmented with four Panasonic AW-UE160 and an RP150 control panel, with additional fixed shots from Marshall CV503-WPs.

Screen time Those IMAG screens are very much larger than normal for arena touring, and so Lawlor and his crew worked closely with both PRG and AV Stumpfl to find a solution that allowed for rear projection in a fast-fold type frame with no central member that would obscure the beam. PRG have also been working with The 1975 since 2016 and, says Stefaan Michels, sales director for PRG UK, “our partnership has grown stronger over the years – we’ve fostered a close relationship with their tour and production management team, and one that extends beyond their time on the road.”

PRG’s brief was scalability, and the integration of new equipment tailored specifically for this production. Michels had to ensure the duplication of rig setups between Europe and the US, as well as customising equipment to meet the tour’s unique requirements. “Implementing A-B-C rig configurations was essential for maximising efficiency and flexibility throughout the tour,” he says, “and we made specific equipment choices based on detailed specifications provided.”

For example, one significant consideration was the need for different sizes of projection screens to suit the dimensions of various venues. For larger arena shows in the US and UK, they incorporated a large USC Hi Res LED wall to deliver high-resolution visuals that could effectively engage the audience across expansive spaces. Additionally, custom-made, large projection screens equipped with additional 31K laser projectors were also used, particularly in venues with specific lighting conditions or sightline challenges.

“We had to come up with a system that kept Matty safe but also ensured that, if the worst happened, it was safe for a rescuer to go out and assist”

Another specific choice was the decision to utilise Ereca Stage Racer 2s, a decision driven by the need to minimise the deployment of copper cabling on a daily basis. “This choice not only reduces setup time but also enhances flexibility, allowing for swift adjustments as tour requirements evolve, as they inevitably do over the course of an extensive tour like this one,” says Michels. “Moving multiple 3G video signals even over medium distances caused problems on the first leg of the tour, as it required coaxial cable to be both modern and in good condition, which is a challenge to maintain on tour when local labour is in use,” adds Lawlor. “This was another factor in the decision to adopt the Stage Racer 2s.”

Hanging about All in all, this setup provided a modest challenge for head rigger Simon Lawrence – “simply 120 points going to the roof and a relatively small weight of 50 tonnes.” But there was one area of concern – at one point, Healy climbs upon onto the roof of the “house” to perform a song, on top of the front apex. “Like any artist, Matty wants to be as free as possible when performing, and initially, he felt he should have no safety systems at all, but when he is nearly six metres up in the air above the stage, this is not possible,” says Lawrence. “So we had to come up with a system that kept Matty safe but also ensured that, if the worst happened, it was safe for a rescuer to go out and assist.”

Rounding out the suppliers, All Access provided the front of house mix position stage (a B stage set piece) and built a custom lift for this, while TAIT provided a TAIT Mag Deck rolling house stage. “The Mag Deck design incorporates magnetic corner blocks for alignment and a shear keyway to reduce the number of legs needed to support the decking structure,” says Bullet, TAIT’s business development manager – UK. “This reduced the amount of product that needed to travel on the road and the time needed to load in and load out, ultimately saving on costs.”

On the road again Moving all this around was the responsibility of Natasha Highcroft, director of Transam Trucking. “We supplied 15 low-ride height production trucks, plus one merchandise truck for the UK, and eight production trucks plus one merchandise truck for the European leg of the tour, all superbly handled by our lead driver, David Isted,” she says. “As with most tours, keeping to the EU legislation on drivers’ hours and statutory weekly rest periods can prove difficult when parking and access is restricted. Fortunately, with an understanding production and accommodating promoters, we were able to facilitate breaks whilst keeping to budget.”

Bussing was provided by Beat The Street; in total, they ran four 16-berth double-deck Setra’s for the crew and two 12-berth Van Hool Super-highdeckers for the band. “Plotting band bus moves can be a bit of a challenge when day drivers are mixed in with overnight drivers, as it becomes difficult to get the drivers their required weekly breaks,” says Garry Lewis, the company’s transport manager. “So, it was agreed to add a second driver to each band bus, which gave us the flexibility to make it work as seamlessly as possible for the band party.”

“Our focus, as a community of creatives, is always to try and limit the negative impact touring has on the environment”

Sustainability has long been an issue dear to the band’s heart, and on this tour, they were determined to do all they could to lessen its carbon footprint and impact on the environment. “The set design put a real focus on the structural elements being reusable or recyclable, and many of the items that make up the set-build will end up back in stock at the supplier end – this is quite unique,” says Oborne. “Our focus, as a community of creatives, is always to try and limit the negative impact touring has on the environment. It’s by no means a perfect solution, but we are pretty committed to chipping away at our impact on the environment.”

Indeed, the modular nature of the set is something of a first. “It’s a renewable scenic technology, and this is the first time this product has been taken out for a live touring show,” says production manager Josh Barnes. “We wanted something that would really give us the aesthetic finish that we were looking for, in terms of being robust and feeling like the walls are actually the walls of a house and not just a flimsy, flat set. But also, be something that could be transported in the most sustainable, cost-effective way possible and be renewed or recycled at the end of the campaign.”

He goes on: “We ended up partnering up with PRG scenic through their Belgium and Las Vegas offices and worked with them on creating the house out of a product called InfiniForm – basically, it’s a 50 x 50 mil aluminium box section that allows you to cut it and add corners, reels, braces, fixings, or whatever you need. Then, once the frames are made, they were clad in aluminium honeycomb, which is a lightweight, hard-wearing wall surface.

“And, at the end of the campaign, they’re just going to be stripped back into component parts and used by the next project. There’s no ongoing storage needed, and there’s no waste in terms of bits and pieces that would just normally get thrown away if it were a custom build.”

This also meant that the band was able to drop their air freight requirements from 40 pallets down to just 17 for the entire show. Coupled with the decision to carry a smaller production around mainland Europe, requiring only eight trucks instead of 16, this allowed the production team to significantly cut the tour’s carbon footprint and make some impressive cost savings.

“One of the things that we’ve really focussed on for this tour is crew welfare, and trying to look after people’s mental health”

Take a break Looking after the planet is a noble endeavour, but the band are also at pains to look after people – specifically, their people. “One of the things that we’ve really focussed on for this tour is crew welfare, and trying to look after people’s mental health,” says Barnes. This effort started before the tour even hit the road – after rehearsals, several training days were scheduled with an American organisation called Safe Tour, covering topics such as wellness on the road, mental health first aid, pronoun training, and some bystander intervention training. “It was really beneficial to everybody involved in the project to set them up for success on what was, and still is, quite a long run,” he adds.

Crew rest was another priority, something that’s always a struggle given the nature of long days on the road. “Getting the right amount of rest between shows is really important,” says Barnes. To that end, they’ve been careful not to set loading times for arrival or very early in the morning, instead choosing “about an hour after we expect to arrive, to give the crew enough time to actually plan their mornings. We can also adjust show and door times as well, to assist if we need to leave slightly earlier one night or start later the next day.”

The quality of crew rest has been improved, too. “So not just a single day off where you arrive at a hotel, but a day where you can sleep in a bed and not set an alarm,” says Barnes. “Effectively, two days off, or one full day off, every few weeks – that was a real win being able to work that into the schedule.” Hotels are pre-booked, so people can access their rooms direct on arrival at 10am or whenever and are required to have a number of amenities to help the crew unwind; a gym, a sauna, a pool, spaces to relax, and convenient access to nature, parks, or wildlife. “Options beyond just sitting in a bar drinking.”

And this emphasis on physical health extends to the available food, with nutritionally balanced meals available on the buses and through catering, plus plenty of non-alcoholic beverages and 0% beers. Crew members can make individual food choices through an app, and while the band themselves tour with a personal trainer to keep them in shape, things like being able to walk to a venue from the hotel, and that downtime is actually downtime, are prioritised. “These things help in a number of ways – it’s financial, it’s sustainability, and it’s improving welfare,” adds Barnes. “They’re all important aspects to us.”

Much in demand As one of the most popular acts of the new millennium, the band is in tune with its global fanbase, striving to make its touring activities as sustainable as possible and speaking out on issues on behalf of underrepresented communities. An infamous onstage kiss in Malaysia between Healy and bassist Ross McDonald last July continues to have repercussions, but that hasn’t stopped promoters internationally from booking the act.

“We sold out four O2 Arena shows this time, plus 40,000 tickets on this album campaign in the UK alone”

Unsurprisingly, given the stature and popularity of the band, Still… has been a roaring commercial success, too, with sold-out shows all across the globe. “We sold out four O2 Arena shows this time, plus 40,000 tickets on this album campaign in the UK alone,” says Bates. “Their fanbase continues to grow year on year, and while that does make the tours easier to sell, we like to launch the show with significant marketing for the first announcement,” says Luke Temple of SJM Concerts. Both Arena Birmingham and the two Manchester dates sold out in a weekend; Temple says the plan was always to do two at the latter, “but I’ve no doubt they could have sold out a few more.”

It was a similar story north of the border, in Glasgow. “The band played Glasgow Hydro in January 2023, then headlined TRNSMT Festival in July 2023,” says Dave McGeachan of DF Concerts. “We were thinking we would leave Glasgow off the 2024 tour, but we decided to add a show at the OVO Hydro. Then we had to add a second night due to demand, which also sold out – quite incredible sales within 13 months.”

In Sweden, the band sold out Stockholm’s Tele2 Arena – “their biggest show in our territory yet,” says Natalie Ryan-Williams of Luger. “Over the years, their fanbase has expanded, and with them being the phenomenon they now are, we knew people were going to travel in from all over Sweden – and even some internationally.”

The possibility of multiple shows in Spain was considered, but, says Cindy Castillo of Mad Cool, venue availabilities and logistical constraints prevented it. “The demand was certainly there, indicating the band’s strong draw in this area,” she says.

Two nights were possible at Amsterdam’s AFAS Live – even if they were nearly a month apart – and, says Friendly Fire’s Roel Coppen, “they were the band’s fastest-selling arena headline shows to date. They played Best Kept Secret in 2023, but we had no issues with these new dates – we could cater to different audiences with different shows within 12 months.”

“You can just about see anyone attending a The 1975 show nowadays – they really attract people from all backgrounds and generations”

Even in more developing territories, these shows have really connected to local fans. “The situation in continental Europe is quite different from the UK, especially in Central Europe,” says Anna Vašátková, head of marketing and PR for Rock For People in Czechia. “The band isn’t played on the radio very often and there’s not as much media coverage, so we’ve had to do all the heavy lifting ourselves. We did quite a massive marketing campaign, including outdoor, radio spots, and extensive use of online media.”

Coppen also noted something else on this run – a broadening of their fanbase. “I do see there’s been a steady, growing interest from older, male, more ‘serious’ music fans – and even journalists – in recent years,” he says. Ryan-Williams has noticed something similar. “You can just about see anyone attending a The 1975 show nowadays – they really attract people from all backgrounds and generations, which is a beautiful thing to see.”

“The 1975’s appeal spans various age groups and genders, and their music has definitely attracted a diverse audience transcending age and gender boundaries,” adds Castillo. “It resonates with listeners across generations, from teenagers to older adults, probably thanks to its relatable themes and catchy melodies.”

Success is no accident Beyond the accolades and acclaim, beyond the facts and figures, this tour has been a resound- ing success. And not just for the legions of happy fans. Everyone IQ speaks to has high praise for the way the band and their team have gone about everything and how they treat all those who encounter them. “Over the years, The 1975 has evolved into more than just a client; they have become like a second family to me,” says Michels. “The professionalism, collaboration, and welcoming spirit displayed by everyone involved transcend mere business relationships.”

“It is always our pleasure to work with The 1975, their production, and their management teams,” says Meegan Holmes of 8th Day Sound, a sentiment echoed by Roy Hunt, Christie Lites’ global account manager. “Every individual involved has demonstrated a high level of professionalism, commitment, and passion that has made this journey memorable,” he says. “The synergy between the band and the crew created an atmosphere of mutual respect and cooperation, while management has been nothing short of supportive, ensuring a seamless and enjoyable tour. Overall, it has been a remarkable experience that speaks volumes about the dedication and talent of everyone involved.”

Fittingly though, band manager Oborne attributes the success to all of those who work so hard to make the shows happen – and who help the band shine. “When I think about The 1975 touring, I can’t help but think about how dedicated and committed to the show our crew are,” he says. “The professionalism and dedication are something we simply could not be without. I am very grateful to all those behind the scenes who turn up day in day out and make the entire thing work. It’s quite something to witness.”

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• Guided tour

Moscow at Night: City Sightseeing Tour by Car/Bus

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When the Sun begins to set, the myriad lights and firefly-like cars buzzing around on the wide highways see Moscow burst into life. This unreal sight is best enjoyed from the height of the capital’s famous viewpoints, Moscow in the evening is truly, truly spectacular. We invite you with pleasure to see the magic of Moscow under the bright night lights!

On this tour, you can expect to see incredible views and the magical transformation sunset has on Moscow’s most iconic buildings, the highlights of which being:

• The Cathedral of Christ the Saviour is a more solemn yet festive sight with its dimly lit lanterns.
• Basil's Cathedral’s fun and colourful onion domes give off the aura of a mysterious castle, growing out of the darkness of the imposing State Duma building nearby.
• The spectacularly illuminated Bolshoi Theatre and the Alexander Garden walkway, itself painted in a whimsical pattern of shadows.
• The legendary Lubyanka Square, steeped in secrecy; just its hearing its name after dark is enough to trigger goosebumps, given its murky past.
• The House on the Embankment, where old legends are revived and ghostly silhouettes lurk.
• The Russian State Library, where vague shadows have been seen flickering in its windows. Who knows, could this be the legendary bibliologist Rubakin protecting the works of literary art that lie within its walls?
• Incredible views from the height of the observation deck at Sparrow Hills. The candle-like skyscrapers of "Moscow-City" shoot into the night in a blaze of glorious light, all reflected back to the observer by the dark waters of the Moscow River. Lest not forget the blood-red fountains on Poklonnaya Hill! An absolutely fantastic spectacle which cannot be seen by day.

Our expert guides will share one thousand and one interesting stories about the aforementioned and other sights, whilst at the same time detailing the vast history of our beautiful capital, past and present.

Come with us and treat yourself to an unforgettable experience amongst the bright lights if Moscow!

The cost of an excursion with a personal guide for 1 person

Meeting point We'll pick you up at your hotel

St. Basil's Cathedral

House on the Embankment

Cathedral of Christ the Saviour

Vorobyovy Hills

Poklonnaya Hill

Moscow-City

Alexander garden

Russian State Library

Bolshoi Theatre

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• Excursion Moscow at Night: City Sightseeing Tour by Car/Bus
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